paris

View of “Elsa Sahal,” 2018. Photo: Aurélien Mole.

Elsa Sahal

Galerie Papillon

View of “Elsa Sahal,” 2018. Photo: Aurélien Mole.

Though the title “Elsa Sahal des origins à nos jours” (Elsa Sahal from the Origins to Today) suggests a historical survey, the fifteen large-scale ceramic sculptures on view in Sahal’s recent exhibition were all made this year. Featuring an installation of primordial-looking sculptures arranged on a dark, sand-dusted platform, the show evoked origins of a different sort. In addition to providing a telluric mise-en-scène, the curvaceous room——filling stage represented the artist’s latest experiment with how to display sculpture. Having previously skewered headless humanoid forms on metal rods (“Pole Dance,” 2015) and suspended avian figures from thick straps (“Léda,” 2014–15), Sahal here reimagined the pedestal as kind of vivarium. Implying a biological symbiosis between pedestal and sculpture, her tall, stemless, leafless, petalless flower sculptures (“Pistils,” 2018–)

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